Captain Fantastic

• The Passive Spectator

  • We are immersed in the film. Cinema creates the illusion of proximity - we suspend our disbelief e.g. diegetic sound ect
  • Physical Suturing - we are ‘stitched’ ‘physically’ into the film through the use of film form e.g. depth of field, diegetic sounds
• The passive spectator pt 2

  • Alignment - we are encouraged to identify with a character through Spatio-temporal attachment and subjective access
  • Emotional suturing - creating characters and situations that generate sympathy, jeopardy and relatability
  • Idealised mirror self (Mertz) - Films satisfy us because we immerse ourselves in the sensory world of the idealised self.
• The active spectator

  • We are aware we are watching a film - sometimes we are pulled out of the film.
  • We do not all respond the same way - we respond individually based on our own life experiences, perspectives and ideologies
  • Allegiance - we choose allegiances based on knowing the emotional state of characters and the context of their actions
• Reception theory - active

  • Reception theory (Hall) - In the decoding process, the spectators can respond differently and take one of three positions:
  • Dominant-hegemonic positions (preferred reading)
  • Negotiated position
  • Oppositional position
• Multiple spectating selves - active

  • Multiple spectating selves - when we watch a film, we do so from the perspective of many different selves, shaped by allegiance.
  • Social
  • Cultural
  • Private
  • Desiring
• Moral suturing

  A film's conflict of values allows the spectator to identify with characters and encourages us to make a moral choice of who to root for, shaped by our allegiance.
• Critical Approaches to Ideology

  • “Applying an ideological critical an ideological critical approach to the study of a film basically means analysing the messages and values of the film through an ideological microscope”
  • Positive: It allows the spectator to understand the film on a deeper level and to have a more critical appreciation of the film's messages
  • Negative: Only applying one ideological critical approach could be limiting as it might close off the meaning of the film
• Applying Ideological approaches

  • Applying a combination of ideological  approaches is more useful in revealing the deeper meanings of the film
  • Considering it as an analysis of the Western genre (in NCFOM) and the role of the Coens as auteurs when exploring ideologies.
• Applying ICA

  • Applying a political ICA (or a Marxist ICA) when analysing Captain Fantastic encourages the spectator to question the impact that capitalism and corporations have on American citizens
  • Applying a political ICA when analysing Captain Fantastic encourages the spectator to consider Matt Ross’ belief that compromise is essential in America’s contemporary political landscape.
  • Applying a feminist ICA raises interesting questions about why women have limited roles in the film and why it is only the male characters who have fully formed character arcs.
• Spectator gaze

  The viewpoint of the camera - the camera is your eyes, usually offers voyeuristic pleasure - we are watching someone's intimate life without them knowing
• Intra-diegetic gaze


  The characters look at each other and we empathise because of the use of shot-reverse-shot editing
• Extra-diabetic gaze 


  The characters look directly at the camera (breaking the fourth wall) becoming aware that they are being watched (either by another character or the spectator
• Dominant Hegemonic position


  The spectator knowingly decodes the film as intended by the director and accepts the ideological messages produced (passive)
• negotiated position

  The filmmaker's message is acknowledged in general terms, but the experience of the spectator also led them to question and resist some aspects from the film (active and passive)
• Oppositional position


  The spectator understands the filmmaker's message but also challenges the idea produced as a result of their experiences and beliefs